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HIGHWAY TO
NO FRIENDLY crystal gazer appeared on the scene during the winter of 1935 to tell heartheavy Alice Faye that in less than two years she would be flying high in Hollywood, the toast of the press and public as an important screen and radio star, and the gloriously happy young bride of a handsome and devoted lover.
It was just as well; she wouldn't have believed it.
She had had enough.
She "wasn't any good as an actress and never would be," and she wanted her studio to tear up her contract.
And all men were false friends. Hadn't the one man she'd admired above all others, upon whom she had pinned her young girl hopes for romance, turned against her just when she'd needed him most?
She wanted to run away and hide.
Curious studio workers whispered to one another about that funny little Faye kid who kept so much to herself on the set, sitting alone in the corner as far as possible from the others in the cast. One told another, and the rumor grew, that Alice's loneliness went farther than studio walls. Someone was sure he had seen her sitting alone in a moving picture theater a soaking wet handkerchief pressed to her eyes.
Alice was worse than unhappy. She was not well, and her doctors had warned her that she was working too hard. An operation, perhaps, might help, a long rest . . . a little fun.
Alice was too tired to care.
Tony Martin — young, laughing Tony — was the first to .puncture a hole in the curtain of gloom which had enveloped her. They were working in "Sing, Baby, Sing." Tony was attracted by Alice's blue-gray Irish eyes, .and refused to be rebuffed by her apparent indifference to people and happenings around her.
He coaxed her into conversation, a word one day, a sentence the next, — until Alice forgot her case against
Star of Chesterfield's Friday-night radio program, leading lady in the new picture, "In Old Chicago," and happy bride of Tony Martin [below)— what more can life bring to Alice Faye?